The Gutters became the visual representation of depression, and their visual identity became something of a metaphor for a particular depression, says historian Daniel Gutman.
It was the “gut-bruiser,” a person who has no energy, but has an insatiable need for food.
This person would have no problem throwing up, and he would often have a stomach full of food.
When you look at the Gutts’ artwork, the gut-buddy becomes a caricature of depression.
It is an icon for what was once called the “bruisers,” a group of people who were hungry for food and could not get enough of it.
They were often depicted as people in wheelchairs.
Gutman writes that the Guttes had a particularly difficult time adjusting to their new, more somber surroundings, where they would frequently sit with their backs against a wall.
They would stare at the ceiling and gaze into the abyss.
Gutmans artistry was often based on guttural sounds, but the Guttedans used the words and gestures of a person speaking to convey their thoughts.
For example, when the Gutter children were younger, their mother would call them, “We’re hungry!”
Gutters often would use their voices to speak to their own children, or even their parents, who were often unable to understand them.
“They were the voice of the sick and disabled, the voice that spoke through the deaf, the mute, the mentally handicapped,” Gutmans son Eric wrote in a 2006 essay for Smithsonian Magazine.
Gutters’ art has been on display at the Smithsonian for nearly half a century.
In the 1970s, Gutters was among the first artists to use computerized 3-D printers to create reproductions of their drawings.
The resulting paintings are now part of the museum’s collection.
Today, Gutts is a celebrated author, and his works are on display in museums around the world.
But for decades, the Guttters remained invisible to the public, until recently.
Guttmans work, as well as his artistic legacy, has been a part of American culture for more than half a millennium.
Gutts artistry is part of a long history of American art, in which people have worked to understand themselves through their work, their bodies, and even their thoughts, said Linda S. Gutting, director of the Center for Art and Culture at the University of New Mexico.
It’s part of what the museum calls the “American Museum of Art’s” long tradition of creating public spaces for public art.
The Gutts are a part, Gutting said.
“The Gutters were a force of nature.
They did not exist to be a model of human beauty, but they were there to represent the world in the most vivid way possible.
They brought to life what we all know as the ‘real world.'”
Gutters, who died in 2014, created a lasting legacy for American art in the form of the Guttered Art Center at the Museum of Modern Art in New York City.
The Museum of American Art in Washington, D.C., has also been part of Gutters legacy, but it is an independent institution.
The museum has recently celebrated the GutTters 50th anniversary, which marks the anniversary of Gutts death.
Gutteres children have been active in the arts, including writing for Smithsonian magazine and the art collective The Gutteders.
Eric Gutt’s wife, Jennifer, is also an artist, and she is working on a new book about Gutters called “The New Gutters.”
But Eric Gutters has also faced obstacles in the art world.
In 1998, Gutt and his wife moved to a small Texas town.
When Jennifer Gutt was still living in Texas, Eric was diagnosed with leukemia.
He had to be taken off life support.
Gutter’s daughter, Sarah, and sister, Livia, have been working to raise awareness of the importance of Guttts legacy.
They are now working on an upcoming documentary about the Gutters.
“My grandmother is a very strong woman,” Sarah Gutt said.
She and Livia Gutt have also helped raise awareness for the American Cancer Society, which has also funded a scholarship for Eric Gutts daughter, Emily, who is in high school.
“This is a life and death story, and we want to do everything we can to raise money to keep her alive for as long as possible,” Sarah said.